Roland DS61 Parameter Guide

Additional Explanation

Panel Descriptions

When this button is on (lit), you can use the [0]–[9] buttons to enter

[NUMERIC] button

numeric values.

* You can use this button only in the PATCH screen and PERFORM

screen.

Used to execute an operation.

List display

You can move the cursor to a parameter and press the [ENTER] button

[ENTER] button

to see a list of that parameter’s values. You can select a value from the list that’s shown.

(Example)

In the PATCH screen, move the cursor to the patch number and press the [ENTER] button to see the patch list.

Press the [EXIT] button to return to the previous screen.

Patch Mode

5If you press the same category button in succession, the patch changes as follows

each time you press the button.

Each time you press the button, the rst patch of the two subcategories is selected.

If a user patch is saved

Each time you press the button, the rst patch of sub-category 1 0 sub-category 2 0 user 0 sub-category 1 … is selected.

Key Touch

5Depending on the KEY TOUCH setting, the [KEY TOUCH] button is lit or unlit.

Lit When the Velocity setting is “REAL”

Unlit When the Velocity setting is “1–127”

Sample Import

5When importing a sample, the OPTIMIZE window might appear depending on the

user memory usage status.

OK Memory is optimized, and then the sample import is executed.

CANCEL Sample import is cancelled.

Editing a Patch/Drum Kit

PATCH EDIT

5In the PATCH EDIT screen when editing each tone, you can use pads [1]–[8] to

perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

5In the PATCH EDIT screen, press the [MENU] button to open the INIT MENU window.

Select “PATCH” or “TONE” and then press the [ENTER] button to initialize the selected patch or tone.

Turn each tone on (pad lit) or o. When a tone is on, a “(” symbol appears.

Make the pad(s) light to specify the tone(s) that you want to edit. You can also make multiple pads light to select multiple tones.

If a user patch is saved

Each time you press the button, the rst patch of preset 0 user 0 preset … is selected.

Performance Mode

5You can use pads [1]–[8] to select the applicable part (current part).

5Pressing a pad [1]–[8] selects part 1–8. 5Hold down the [SHIFT] button and press pad [1]–[8] to select part 9–16.

16-part mode

5Within Performance mode, the state in which neither split, dual, nor super layer is

selected is called “16-part mode.”

5

6

No. Explanation

1

2

3

4

5

3

Eect on (lit)/o (unlit)

Tempo

Performance bank

Performance number/name

Current part

1

10

2

4

7

8

9

No. Explanation

Category number/Patch name

6

Level of the current part

7

Level meter

8

Octave Shift setting

9

Parameters that can currently be

10

adjusted by the control knobs

DRUM KIT EDIT

5A drum kit consists of a percussion instrument sound (tone) assigned to each key.

The tone that’s assigned to each key consists of a combination of up to four waves. Drum Kit Edit lets you edit the settings of the tone that’s assigned to each key.

5In the DRUM KIT EDIT screen, when editing the four waves that make up the tone

assigned to the selected key, you can use pads [1]–[8] to perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

Turn each wave on (pad lit) or o. When a wave is on, a “(” symbol appears.

Make the pad(s) light to specify the wave(s) that you want to edit. You can also make multiple pads light to select multiple waves.

5In the DRUM KIT EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “DRUM” or “TONE” and then press the [ENTER] button to initialize the selected drum kit or the tone of the selected key.

Editing a Performance

5“PERFORMMANCE EDIT” lets you edit while viewing a list of the settings of all parts,

and “PART EDIT” lets you edit each part of the performance individually.

* PERFORMANCE EDIT and PART EDIT have the same parameters in common.

5In the PERFORM EDIT or PART EDIT screen, you can use pads [1]–[8] to select the

part that you want to edit. If you hold down the [SHIFT] button and press a pad [1]– [8], a part 9–16 is selected.

5In the PERFORM EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “PERFORM” or “PART” and press the [ENTER] button to initialize the selected performance or part.

When you play the keyboard, you’ll hear the current part and the parts whose keyboard switch (p. 19, p. 20, p. 22) is on.

Adjusting the volume

You can use the [UPPER] LEVEL slider and [LOWER] LEVEL slider to adjust the part 1 and part 2 volume (LEVEL).

2

Pattern Sequencer

5In the PATTERN SEQUENCER screen, you can long-press the [LOOP] button to open

the LOOP window, where you can make loop-related settings. Press the [EXIT] button to close the LOOP window.

Parameter Explanation

Species whether playback will loop (ON) or not loop (OFF).

Loop Switch

Loop Rec

* You can also switch this by pressing the [LOOP] button.

OFF, ON

Species whether to loop-record (ON) or not loop-record (OFF).

* You can also switch this by pressing the [LOOP] button while holding

down the [SHIFT] button.

OFF, ON

Additional Explanation

Move the cursor to “SAVE AS PERFORM,” and press the [ENTER] button.

4.

The SAVE AS PERFORM screen appears.

Use the value dial to select the write destination performance, and press

5.

the [ENTER] button.

A conrmation message appears. If you decide to cancel, press the [EXIT] button.

Move the cursor to “OK,” and press the [ENTER] button.

6.

Writing is complete when the screen indicates “Completed!”

NOTE

Never turn o the power while the screen indicates “Writing....”

5Use the [UPPER] slider to adjust the level of track 1, and the [LOWER] slider to adjust

the level of track 2.

5Use the [PHRASE PAD] slider to increase or decrease the level that’s specied for

tracks 3–8 while maintaining the balance between these tracks.

5Press the [MIXER] button to open the MIXER screen. Here you can set the pan and

level of each track.

You can use pads [1]–[8] to select a track to edit. Use the [UPPER]/[LOWER]/[PHRASE PAD] sliders to adjust the level.

MEMO

Tracks 1–7 are assigned to parts 1–7, and track 8 is assigned to part 10.

Realtime Erase

Erasing only specied notes during recording or playback (REALTIME NOTE ERASE)

During recording or playback, hold down the [RHYTHM PATTERN] button

1.

and press the [ERASE] button.

The REALTIME NOTE ERASE window appears.

Press a key on the keyboard to specify the note that you want to erase.

2.

Press the [ERASE] button.

3.

While you continue holding down the key, only the note you specify is erased from the selected track.

Turning the Display Backlight On/O

To reduce battery consumption, you can turn o the display backlight when it’s not required.

Hold down the [SHIFT] button and press the [EXIT] button.

1.

The display backlight will turn o.

Turning the display backlight on

Hold down the [SHIFT] button and press the [ENTER] button.

1.

The display backlight will turn on.

Demo Songs

1 Wonder 2 There There There

Erasing only movements of knobs or the bender/modulation lever during recording or playback

During recording or playback, hold down the [MUTE] button and press the

1.

[ERASE] button.

Only while you continue holding down these buttons, movements of the knobs and the bender/modulation lever are erased from the selected track.

Saving a Pattern As a “Performance” (SAVE AS PERFORM)

Settings related to the sound of the pattern (preset/user) used in the pattern sequencer can be saved as a performance. For example, if you want to export a pattern to SMF, use your DAW to edit it into a complete song, and then use the JUNO-DS to play this song data, the performance saved by the “SAVE AS PERFORM” function can be recalled to play the data using the original sound.

In the PATTERN SEQUENCER screen, select a pattern.

1.

Press the [MENU] button.

2.

The MENU screen appears.

Move the cursor to “PATTERN UTILITY,” and press the [ENTER] button.

3.

3

Patch Mode

Patch/Drum Kit Edit

Procedure

Select a patch or drum kit that you want to edit.

1.

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

2.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “PATCH EDIT” or “DRUM KIT EDIT,” and press the [ENTER]

3.

button.

The PATCH EDIT or DRUM KIT EDIT screen appears.

MEMO

5In the PATCH EDIT screen when editing each tone, you can use pads [1]–[8] to

perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

5In the PATCH EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “PATCH” or “TONE” and then press the [ENTER] button to initialize the selected patch or tone.

Turn each tone on (pad lit) or o. When a tone is on, a “(” symbol appears.

Make the pad(s) light to specify the tone(s) that you want to edit. You can also make multiple pads light to select multiple tones.

MEMO

5In the DRUM KIT EDIT screen, when editing the four waves that make up the

tone assigned to the selected key, you can use pads [1]–[8] to perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

5In the DRUM KIT EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “DRUM” or “TONE” and then press the [ENTER] button to initialize the selected drum kit or the tone of the selected key.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

4.

Move the cursor to the parameter that you want to edit, and use the value

5.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

6.

(Write)” (refer to owner’s manual).

Turn each wave on (pad lit) or o. When a wave is on, a “(” symbol appears.

Make the pad(s) light to specify the wave(s) that you want to edit. You can also make multiple pads light to select multiple waves.

About the Parameters

5Parameters marked with a “2” can be controlled using Matrix control (p. 12).

5Some parameters (such as Rate or Delay Time) can be set in terms of a note value.

Sixty-fourthnote triplet

Sixteenth-note triplet

Dotted sixteenth note

Quarter note Half-note triplet

Whole-note triplet

Dotted whole note

Sixty-fourth note

Dotted thirtysecond note

Eighth note

Dotted half note Whole note

Double note

Thirty-secondnote triplet

Sixteenth note

Quarter-note triplet

Dotted quarter note

Thirty-second note

Eighth-note triplet

Dotted eighth note

Half note

Double-note triplet

NOTE

If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length.

This is because there is an upper limit for the delay time; if the delay time is specied as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specied when setting the delay time as a numerical value.

Patch Parameters

COMMON

Parameter Value/Explanation

Species the type (category) of the patch.

Patch Category

Patch Level

Patch Pan

Patch Priority

Octave Shift

Patch Coarse Tune

Patch Fine Tune

Stretch Tune Depth

Analog Feel

Cuto Oset

Resonance Oset

Attack Time Oset

Release Time Oset

* If you select “NO ASSIGN” as the category, it won’t be possible to select

the patch on the JUNO-DS itself.

Refer to “Category List” (p. 5).

Species the volume of the patch.

0–127

Species the pan of the patch. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).

LAST

LOUDEST

Adjusts the pitch of the patch’s sound up or down in units of an octave (±3 octaves).

-3–3

Adjusts the pitch of the patch’s sound up or down in semitone steps (±4 octaves).

-48–48

Adjusts the pitch of the patch’s sound up or down in 1-cent steps (±50 cents).

-50–50

Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate)

OFF Equal temperament

1–3

Species the depth of 1/f modulation that is to be applied to the patch. By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

0–127

Cuto Frequency Oset alters the cuto frequency of the overall patch, while preserving the relative dierences between the cuto frequency values set for each tone in the Cuto Frequency (p. 8).

* This value is added to the cuto frequency value of a tone, so if the

cuto frequency value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

Resonance Oset alters the resonance of the overall patch, while preserving the relative dierences between the resonance values set for each tone in the Resonance (p. 8).

* This value is added to the resonance value of a tone, so if the resonance

value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

Attack Time Oset alters the attack time of the overall patch, while preserving the relative dierences between the attack time values set for each tone in the TVA-Env Time 1 (p. 10), TVF-Env Time 1 (p. 9).

* This value is added to the attack time value of a tone, so if the attack

time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

Release Time Oset alters the release time of the overall patch, while preserving the relative dierences between the release time values set for each tone in the TVA-Env Time 4 (p. 10), TVF-Env Time 4 (p. 9).

* This value is added to the release time value of a tone, so if the release

time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

The last-played voices will be given priority, and currently sounding notes will be turned o in order, beginning with the rst-played note.

The voices with the loudest volume will be given priority, and currently sounding notes will be turned o, beginning with the lowest-volume voice.

Higher settings will produce the greater dierence in the pitch of the low and high ranges.

Pitch dierence from equal temperament

Low note range High note range

Parameter value

4

Patch Mode

Parameter Value/Explanation

Velocity Sens Oset alters the Velocity Sensitivity of the overall patch while preserving the relative dierences between the Velocity Sensitivity values set for each tone in the parameters below.

Velocity Sens Oset

Mono/Poly

Legato Switch

Legato Retrigger

MEMO

Let’s say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.” When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded. Additionally, if diering upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.”

Portamento Switch

Portamento Mode

Portamento Type

Cuto V-Sens (p. 9) Level V-Sens (p. 10)

* This value is added to the velocity sensitivity value of a tone, so if the

velocity sensitivity value of any tone is already set to “+63” (maximum), positive “+” settings here will not produce any change.

-63–+63

Species whether the patch will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is eective when playing a solo instrument patch such as sax or ute.

MONO Only the last-played note will sound.

POLY Two or more notes can be played simultaneously.

Species whether the Legato Switch will be used (ON) or not (OFF). With the Legato Switch parameter “ON,” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is eective when you wish to simulate the hammering-on and pulling-o techniques used by a guitarist.

* Legato Switch is valid when the Mono/Poly is set to “MONO.”

OFF, ON

The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. Normally you will leave this parameter “ON.” When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

* Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the

Legato Switch is set to “ON.”

OFF, ON

Species whether the portamento eect will be applied (ON) or not (OFF).

OFF, ON

Species the performance conditions for which portamento will be applied.

NORMAL Portamento will always be applied.

LEGATO

Species the type of portamento eect.

RAT E

TIME

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting species the pitch at which the change will begin.

PITCH

Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).

The time it takes will depend on the distance between the two pitches.

The time it takes will be constant, regardless of how far apart in pitch the notes are.

Starts a new portamento when another key is pressed while the pitch is changing.

Pitch

Parameter Value/Explanation

When portamento is used, this species the time over which the pitch will

Portamento Time

change. Higher settings will cause the pitch change to the next note to take more time.

0–127

Category List

Category Contents

- - - No assign No assign

PNO AC. Piano Acoustic Piano

EP EL. Piano Electric Piano

KEY Keyboards Other Keyboards (Clav, Harpsichord etc.)

BEL Bell Bell, Bell Pad

MLT Mallet Mallet

ORG Organ lectric and Church Organ

ACD Accordion Accordion

HRM Harmonica Harmonica, Blues Harp

AGT AC.Guitar Acoustic Guitar

EGT EL.Guitar Electric Guitar

DGT DIST. Guitar Distortion Guitar

BS Bass Acoustic & Electric Bass

SBS Synth Bass Synth Bass

STR Strings Strings

ORC Orchestra Orchestra Ensemble

HIT Hit&Stab Orchestra Hit, Hit

WND Wind Winds (Oboe, Clarinet etc.)

FLT Flute Flute, Piccolo

BRS AC. Brass Acoustic Brass

SBR Synth Brass Synth Brass

SAX Sax S ax

HLD Hard Lead Hard Synth Lead

SLD Soft Lead Soft Synth Lead

TEK Techno Synth Techno Synth

PLS Pulsating Pulsating Synth

FX Synth FX Synth FX (Noise etc.)

SYN Other Synth Poly Synth

BPD Bright Pad Bright Pad Synth

SPD Soft Pad Soft Pad Synth

VOX Vox Vox, Choir

PLK Plucked Plucked (Harp etc.)

ETH Ethnic Other Ethnic

FRT Fretted Fretted Inst (Mandolin etc.)

PRC Percussion Percussion

SFX Sound FX Sound FX

BTS Beat&Groove Beat and Groove

DRM Drums Drum Set

CMB Combination Other patches which use Split and Layer

Portamento Start

NOTE

press D4 key

press C4 key

Portamento will begin anew from the pitch where the current change would end.

Pitch

press C4 key

press C5 key

press D4 key

Time

5

Patch Mode

WAVE

Parameter Value/Explanation

1– *4

*

Wave Group

Wave No. L (Mono)

Wave No. R

Wave Gain

Wave Tempo Sync

Wave FXM Switch

Wave FXM Color

Wave FXM Depth

2

Specify the on/o status of tones 1–4. If a tone is on, a “(” mark is shown.

OFF, ON

Selects the group for the waveform that is to be the basis of the tone.

INTA, B Waveforms stored in internal

EXP Waveforms for expansion sounds

Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display. When in mono, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

OFF, 1–2402 (The upper limit will depend on the wave group.)

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster to distort the waveform’s sound, set this parameter to its maximum value (p. 7).

-6, 0, +6, +12

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

OFF, ON

MEMO

Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler).

Sets whether FXM will be used (ON) or not (OFF).

OFF, ON

MEMO

FXM (Frequency Cross Modulation) uses a specied waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound eects.

Species how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

1–4

Species the depth of the modulation produced by FXM.

0–16

Selects the type of tone delay.

NORM

The tone begins to play after the time specied in the Tone Delay Time has elapsed.

No Tone Delay

Parameter Value/Explanation

OFF-D

MEMO

If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting “OFF-N” or “OFF-D” may result in no sound being heard.

Species the time from when the key is pressed (or if the Delay Mode is set

Tone Delay Time

to “OFF-N” or “OFF-D,” the time from when the key is released) until when the tone will sound.

0–127, note

Rather than being played while the key is pressed, the tone begins to play once the period of time specied in the Tone Delay Time has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Delay time

Note on Note o

TMT

Parameter Value/Explanation

Determines how tone 1 and 2, or tone 3 and 4 are connected. The following 10 dierent Types of combination are available.

1

2

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone.

This type stacks the two lters together to intensify the characteristics of the lters. The TVA for tone 1 (or 3) controls the volume balance between the two tones.

Tone Delay Mode

Delay time

Note on

HOLD Although the tone begins to play after the time specied

OFF-N

in the Tone Delay Time has elapsed, if the key is released before the time specied in the Tone Delay Time has elapsed, the tone is not played.

Note on Note o

Rather than being played while the key is pressed, the tone begins to play once the period of time specied in the Tone Delay Time has elapsed after release of the key. This is eective in situations such as when simulating noises from guitars and other instruments.

Note o

No sound played

Delay time

Structure Type

1 & 2, 3 & 4

3 This type mixes the sound of tone 1 (3) and tone 2 (4),

4

5

6

applies a lter, and then applies a booster to distort the waveform.

This type applies a booster to distort the waveform, and then combines the two lters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level.

This type uses a ring modulator to create new overtones, and combines the two lters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two lters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

Note on Note o

6

Patch Mode

Parameter Value/Explanation

7

8

9

10 This type passes the ltered sound of each tone through a

MEMO

5When type 2–10 is selected and one tone of a pair is turned o, the other tone will be

sounded as type 1 regardless of the displayed setting.

5If you limit the keyboard area in which a tone will sound (Key Range Upper, Lower) or limit

the range of velocities for which it will sound (Velo Range Upper, Lower), the result in areas or ranges where the tone does not sound is just as if the tone had been turned o. This means that if type 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.

When a Structure Type of 3 or 4 is selected, you can adjust the depth of

Booster

1 & 2, 3 & 4

Key Fade Upper, Lower

Key Range

Upper, Lower

TMT Velocity Control

Velo Fade Upper, Lower

the booster. The booster increases the input signal in order to distort the sound. This creates the distortion eect frequently used with electric guitars. Higher settings will produce more distortion.

0, +6, +12, +18

This determines what will happen to the tone’s level when a note that’s higher/lower than the tone’s specied keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

0–127

Species the highest/lowest note that the tone will sound for each tone.

* If you attempt to raise the lower key higher than the upper key, or

(Upper) LOWER–G9, (Lower) C-1–UPPER

Level

Fade Lower

Range Lower Range Upper

TMT Velocity Control determines whether a dierent tone is played or not depending on the force with which the key is played (velocity).

* Instead of using Velocity, you can also have tones substituted using the

OFF Tones are not velocity-switched.

ON

RANDOM

CYCLE

This determines what will happen to the tone’s level when the tone is played at a velocity Upper/lower than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

0–127

This type applies a lter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones.

This type sends the ltered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a lter to the result.

This type passes the ltered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

to lower the upper key below the lower key, the other value will be automatically modied to the same setting.

Pitch

Fade Upper

Matrix control (p. 12). However, the keyboard velocity and the Matrix control cannot be used simultaneously to make dierent tones to sound. When using the Matrix control to switch tones, set the Velocity Control to “OFF.”

Tones are switched according to the keyboard playing velocity.

The patch’s constituent tones will sound randomly, regardless of the velocity.

The patch’s constituent tones will sound consecutively, regardless of the velocity.

Parameter Value/Explanation

Sets the highest/lowest velocity at which the tone will sound.

Velo Range

Upper, Lower

MEMO

When using the Matrix Control to have dierent tones played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.

TMT Control Switch

* If you attempt to set the Lower velocity limit above the Upper, or the

Upper below the Lower, the other value will automatically be adjusted to the same setting.

(Upper) LOWER–127, (Lower) 1–UPPER

Level

Fade Lower

Range Lower Range Upper

Use the Matrix control to enable (ON), or disable (OFF) sounding of dierent tones.

* You can also cause dierent tones to sound in response to notes

played at dierent strengths (velocity) on the keyboard (p. 7). However, the Matrix control and the keyboard velocity cannot be used simultaneously to make dierent tones to sound. When you want to make the dierent tones to sound, set the TMT Velocity Control (p. 7) to “OFF.”

OFF, ON

Fade Upper

Velocity

PITCH

Parameter Value/Explanation

Adjusts the pitch of the tone’s sound up or down in semitone steps (±4

Tone Coarse Tune

Tone Fine Tune

Random Pitch Depth

Pitch Keyfollow

Pitch Bend Range

Up, Down

octaves).

-48–+48

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

0–1200

Species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard). If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch.

-200–+200

Pitch

Key

Species the degree of pitch change in semitones when the Pitch Bend lever is all the way right (left). For example if this is set to “+48 (-48)” and you move the pitch bend lever all the way to the right (left), the pitch will rise (fall) 4 octaves.

(Up) 0–+48, (Down) 0– -48

7

Patch Mode

PITCH ENV

Parameter Value/Explanation

Adjusts the eect of the Pitch Envelope. Higher settings will cause the

Pitch Env Depth

Pitch Env V-Sens

Pitch Env T1 V-Sens

Pitch Env T4 V-Sens

Pitch Env Time KF

pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-12–+12

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the pitch envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

TVF

Parameter Value/Explanation

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

* If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 8) will be

ignored .

OFF No lter is used.

LPF

BPF

HPF

PKG

LPF2

Filter Type

LPF3

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency in order to round o, or un-brighten the sound. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency, and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency. You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the cuto frequency are cut, the sensitivity of this lter is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the cuto frequency are cut, the sensitivity of this lter changes according to the cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

Pitch Env Time 1–4

2

Pitch Env Level 0–4

Key

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

0–127

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

-63–+63

Pitch

Note on

T: Time L: Level

Note o

Time

Cuto Frequency

2

Resonance

2

Cuto Keyfollow

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

“LPF/LPF2/LPF3” selected for the Filter Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

“BPF” selected for the Filter Type

Harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

“HPF” selected for the Filter Type

Higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

“PKG” selected for the Filter Type

The harmonics to be emphasized will vary depending on Cuto Frequency setting.

MEMO

To edit the overall patch while preserving the relative dierences in the Cuto Frequency values set for each tone, set the Cuto Oset (p. 4).

0–127

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

0–127

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the C4 key (center C), positive (+) settings will cause the cuto frequency to rise for notes higher than C4, and negative (-) settings will cause the cuto frequency to fall for notes higher than C4. Larger settings will produce greater change.

-200–+200

Cuto frequency

(Octave)

Key

8

Patch Mode

Parameter Value/Explanation

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

Cuto V-Curve

Cuto V-Sens

Resonance V-Sens

FIXED, 1–7

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cuto frequency, use negative (-) settings.

MEMO

To edit the overall patch while preserving the relative dierences in the Cuto V-Sens values set for each tone, set the Velocity Sens Oset (p. 5). However, this setting is shared by the Level V-Sens (p. 10).

-63–+63

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

-63–+63

TVF ENV

Parameter Value/Explanation

Species the depth of the TVF envelope. Higher settings will cause the TVF

TVF Env Depth

TVF Env V-Curve

TVF Env V-Sens

TVF Env T1 V-Sens

TVF Env T4 V-Sens

envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-63–+63

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

FIXED, 1–7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) settings will cause the eect to be less.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

TVF Env Time Keyfollow

TVF Env Time 1–4

2

TVF Env Level 0–4

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

0–127

Cuto

Frequency

Note on

T: Time L: Level

Note o

Key

Time

9

Patch Mode

TVA

Parameter Value/Explanation

Sets the volume of the tone. This setting is useful primarily for adjusting

Tone Level

2

Level V-Curve

Level V-Sens

Bias Level

Bias Position

Bias Direction

Bias

Bias causes the volume to be aected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

the volume balance between tones.

0–127

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the tone to be aected by the force with which you play the key, set this to “FIXED.”

FIXED, 1–7

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

MEMO

If you wish to make adjustments to the entire patch while maintaining the relative values of Level V-Sens among tones, adjust the Velocity Sens Oset (p. 5). However, this setting is shared by the Cuto V-Sens (p. 9).

-63–+63

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction.

-100–+100

Species the key relative to which the volume will be modied.

C- –G9

Selects the direction in which change will occur starting from the Bias Position.

The volume will be modied for the keyboard area below the

LWR

Bias Point.

The volume will be modied for the keyboard area above the

UPR

Bias Point.

The volume will be modied symmetrically toward the left and

L&U

right of the Bias Point.

ALL The volume changes linearly with the bias point at the center.

Parameter Value/Explanation

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount

Alternate Pan Depth

MEMO

When any value from Type “2”–”10” is selected for the Structure Type (p. 6) in the Pan Keyfollow, Random Pan Depth, Alternate Pan Depth settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

L63–0–63R

TVA ENV

Parameter Value/Explanation

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this

TVA-Env T1 V-Sens

TVA-Env T4 V-Sens

TVA-Env Time KF

parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

Tone Pan

2

Pan Keyfollow

Random Pan Depth

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this parameter if you want key position to aect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

-100–+100

Pan

Key

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

0–63

TVA-Env Time 1–4

2

TVA-Env Level 1–3

Key

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specied in the TVA screen).

0–127

Level

Note on

T: Time L: Level

Note o

Time

10

Patch Mode

OUTPUT

Parameter Value/Explanation

Species how the direct sound of each patch will be output.

MFX

Patch Output Assign

Tone Output Assign

Tone Output Level

Tone Chorus Send

Tone Reverb Send

L+R

L, R

TONE Outputs according to the settings for each tone.

Species how the direct sound of each tone will be output.

* If the Patch Output Assign is set to anything other than “TONE,” these

settings will be ignored.

* When the Structure Type (p. 6) has a setting of “2”–”10,” the outputs

of tones 1 and 2 will be combined with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

* Chorus and reverb are output in mono at all times.

MFX

L+R

L, R

Set the level of the signal that is sent to the output destination specied by Patch Output Assign or Tone Output Assign.

0–127

Species the level of the signal sent to the chorus for each tone.

0–127

Species the level of the signal sent to the reverb for each tone.

0–127

LFO1, 2

Parameter Value/Explanation

Selects the waveform of the LFO.

* If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger

parameter to “ON.” If this is “OFF,” it will have no eect.

SIN Sine wave

TRI Triangle wave

SAWU Sawtooth wave

SAWD Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Waveform

Rate

2

Rate Detune

Oset

Delay Time

BD-U

BD-D

TRP Trapezoidal wave

S&H Sample & Hold wave (one time per cycle, LFO value is changed)

CHS Chaos wave

VSIN

STEP

Adjusts the modulation rate, or speed, of the LFO.

* This setting will be ignored if the Waveform parameter is set to “CHS.”

0–127, note

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate) each time a key is pressed. Higher settings will cause greater change.

* This parameter is invalid when Rate is set to “note.”

0–127

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency). Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

-100, -50, 0, +50, +100

Delay Time (LFO Delay Time) species the time elapsed before the LFO eect is applied (the eect continues) after the key is pressed (or released).

* After referring to “How to Apply the LFO” (p. 12), change the setting

until the desired eect is achieved.

0–127

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specied by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

Parameter Value/Explanation

Adjusts the value for the Delay Time depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

-100–+100

Time

Delay Time KF

Species how the LFO will be applied.

Fade Mode

Fade Time

Key Trigger

Pitch Depth

2

TVF Depth

2

TVA Depth

2

Pan Depth

2

* After referring to “How to Apply the LFO” (p. 12), change the setting

until the desired eect is achieved.

ON <, ON >, OFF <, OFF >

Species the time over which the LFO amplitude will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 12), change the setting

until the desired eect is achieved.

0–127

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

OFF, ON

Species how deeply the LFO will aect pitch.

-63–+63

Species how deeply the LFO will aect the cuto frequency.

-63–+63

Species how deeply the LFO will aect the volume.

-63–+63

Species how deeply the LFO will aect the pan.

MEMO

When the Structure Type (p. 6) is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. This applies to the Pan Depth settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

-63–+63

STEP LFO

Parameter Value/Explanation

When generating an LFO waveform from the data specied in LFO

Step Type

LFO Step 1–16

Step1–16, specify whether the level will change abruptly at each step (TYP1) or will be connected linearly ( TYP2).

TYP1, TYP2

Species the data for the Step LFO. If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

-36–+36

Key

11

Patch Mode

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Parameter Value/Explanation

Fade Mode ON <

Delay Time

Fade Time

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

Parameter Value/Explanation

Fade Mode ON >

Delay Time The time that the LFO will continue after the keyboard is played.

Fade Time

Apply the LFO gradually after the key is released

The time from when the keyboard is played until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

CTRL

Parameter Value/Explanation

When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NOSUS.”

* If a one-shot type waveform is selected, it will not sustain even if this

parameter is set to “SUST.”

NOSUS, SUST

MEMO

5One-shot: These waveforms contain sounds that have short decays. A

Env Mode

Rx Bender

Rx Expression

Rx Hold-1

Rx Pan Mode

Redamper Sw

one-shot waveform records the initial rise and fall of the sound. Some of the JUNO-DS’s one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The JUNO-DS also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.

5Looped: These waveforms include sounds with long decays as well

as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The JUNO-DS’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments.

For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

OFF, ON

For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

OFF, ON

For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NOSUS” is selected for Env Mode parameter, this setting will have no

eect.

OFF, ON

For each tone, specify how pan messages will be received.

* The channels cannot be set so as not to receive Pan messages.

CONT

K-ON

You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 “ON.” This function is eective for piano sounds.

OFF, ON

Whenever Pan messages are received, the stereo position of the tone will be changed.

The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

Parameter Value/Explanation

Fade Mode OFF <

Delay Time

Fade Time

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Parameter Value/Explanation

Fade Mode OFF >

Delay Time The time that the LFO will continue after the keyboard is released.

Fade Time

The time from when the keyboard is released until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

Matrix control

Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messages—MIDI messages designed exclusively for the JUNO-DS. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the JUNO-DS’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a lter. The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the Matrix control. Up to four Matrix Controls can be used in a single patch. To use the Matrix control, specify which MIDI message (Source) will be used to control which parameter (Dest), and how greatly (Sens), and the tone to which the eect is applied (Switch).

12

Patch Mode

MTRX CTRL1–4

Parameter Value/Explanation

Sets the MIDI message used to change the tone parameter with the Matrix Control.

OFF Matrix control will not be used.

CC01–32, 33–95 Controller numbers 1–32, 33–95

PITCH BEND Pitch Bend

AFTERTOUCH After touch

SYS CTRL1–SYS

Control 1–4 Source

5Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as

Matrix Control. In this case, you can change the tone settings in realtime by playing patches.

5If you want to use common controllers for the entire JUNO-DS, select “SYS CTRL1”–”SYS

CTRL4.” MIDI messages used as System Control 1–4 are set with the System Ctrl 1–4 Source (p. 34).

MEMO

5There are parameters that determine whether or not Pitch bend, Controller number 11

(Expression) and Controller number 64 (Hold 1) are received (p. 12). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

5There are parameters that let you specify whether specic MIDI messages will be received

for each channel in a performance (p. 20). When a patch with Matrix control settings is assigned to a part, conrm that any MIDI messages used for the Matrix control will be received. If the JUNO-DS is set up such that reception of MIDI messages is disabled, then the Matrix control will not function.

Control Dest1–4

CTRL4

VELOCITY Velocity (pressure you press a key with)

KEY FOLLOW Key follow (keyboard position with C4 as 0)

* Velocity and Key follow correspond to Note messages.

TEMPO

LFO1, 2 LFO1, 2

PITCH ENV Pitch envelope

TVF ENV T VF envelope

TVA ENV T VA envelope

Matrix control destination selects the tone parameter that is to be controlled when using the Matrix control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

OFF Matrix control will not be used.

Changing the pitch

PCH Changes the pitch.

Opening and closing the lter

CUT Changes the cuto frequency.

RES

Changing the volume and pan

LEV Changes the volume level.

PAN Changes the pan.

Changing how the eects are applied

DRY Changes the volume of the original sound.

CHO Changes the amount of chorus.

REV Changes the amount of reverb.

Applying LFO to modulate sounds

PIT-LFO1, 2 Changes the vibrato depth.

TVF-LFO1, 2 Changes the wah depth.

TVA-LFO1, 2 Changes the tremolo depth.

PAN-LFO1, 2 Changes the eect that the LFO will have on pan.

LFO-RATE

Changing the Pitch Envelope

PIT-ATK Changes the Env Time 1of the pitch envelope.

PIT-DCY

PIT-REL Changes the Env Time 4 of the pitch envelope.

Changing the TVF Envelope

TVF-ATK Changes the Env Time 1 of the TVF envelope.

TVF-DCY

TVF-REL Changes the Env Time 4 of the TVF envelope.

Changing the TVA Envelope

T VA-AT K Changes the Env Time 1 of the TVA envelope.

TVA-DCY

TVA-REL Changes the Env Time 4 of the TVA envelope.

Splitting tones that are played

TMT

MIDI messages used as common matrix controls.

The specied tempo (sequencer tempo) or the tempo of an external MIDI sequencer.

Emphasizes the overtones in the region of the cuto frequency, adding character to the sound.

Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set to “note.”

Changes the Env Time 2 and Env Time 3 of the pitch envelope.

Changes the Env Time 2 and Env Time 3 of the TVF envelope.

Changes the Env Time 2 and Env Time 3 of the TVA envelope.

5If the Matrix control is used to split tones, set the

TMT Velocity Control to “OFF,” and the TMT Control Switch to “ON” (p. 7).

5If the Matrix control is used to split tones, we

recommend setting the Matrix control Sens to “+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the eect, set the value to “-63.”

5If you want to use matrix control to switch smoothly

between tones, use the Velo Fade Lower and Velo Fade Upper (p. 7). The higher the values set, the smoother the switch is between the tones.

Parameter Value/Explanation

Changing the depth of frequency modulation for FXM

FXM

Changing specic MFX parameters

MFX1–4

Sets the amount of the Matrix Control’s eect that is applied. If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster etc. —from its current setting, select a positive (+) value. If you wish to modify the selected parameter in

Control Sens1–4

Control Switch1–4

a negative (-) direction—i.e., a lower value, toward the left, or slower etc. —from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

-63–+63

Selects the tone to which the eect is applied when using the Matrix Control.

OFF The eect will not be applied.

ON The eect will be applied.

REVS The eect will be applied in reverse.

Change the parameter that was specied by MFX Control 1–4 Assign.

* If you have not made the necessary settings for

using the MFX, the MFX will not be applied even if you attempt to control it as a Matrix control destination.

13

Patch Mode

Drum Kit Parameters

MEMO

A drum kit consists of a percussion instrument sound (tone) assigned to each key. The tone that’s assigned to each key consists of a combination of up to four waves. Drum Kit Edit lets you edit the settings of the tone that’s assigned to each key.

COMMON

Parameter Value/Explanation

A0–C8

(Tone name)

Drum Kit Level

Tone Name

Assign Type

Mute Group

Tone Env Mode

Tone Pitch Bend Range

Tone Rx Expression

Tone Rx Hold-1

Rx Pan Mode

One Shot Mode

Species the key to which the tone you want to edit is assigned.

* You can also press a key to select this.

Sets the volume of the drum kit.

0–127

Changes the name (tone name) of the tone that’s assigned to the specied key.

Refer to “Editing the tone name” (p. 14).

Sets the way sounds are played when the same key is pressed a number of times.

Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time, such as

MULTI

with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

Only one sound can be played at a time when the same key is pressed. With continuous sounds where the sound plays for

SINGLE

an extended time, the previous sound is stopped when the following sound is played.

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group. The Mute Group function allows you to designate two or more tones that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. Tones that are not belong to any such group should be set to “OFF.”

OFF, 1–31

When a loop waveform (p. 12) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”

* If a one-shot type waveform (p. 12) is selected, it will not sustain even

if this parameter is set to “SUSTAIN.”

NO-SUS, SUSTAIN

Species the amount of pitch change in semitones (4 octaves) that will occur when the pitch bend lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.

0–48

For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

OFF, ON

For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NO-SUS” is selected for Tone Env Mode (p. 14), this setting will have

no eect.

OFF, ON

For each tone, specify how pan messages will be received.

* The channels cannot be set so as not to receive Pan messages.

Whenever Pan messages are received, the stereo position of

CONT

the tone will be changed.

The pan of the tone will be changed only when the next note

K-ON

is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes rst). The result will be the same as when the envelope’s Tone Env Mode (p. 14) is set to “NO-SUS.”

OFF, ON

Editing the tone name

Move the cursor to “Tone Name,” and press the [ENTER] button.

1.

The DRUM KIT TONE NAME screen appears.

Assign a tone name

2.

Operation Explanation

[K] [J] buttons Move the cursor.

Value dial, [–] [+] buttons Select the character.

[I] [H] buttons Switch between uppercase and lowercase.

Inserting/ Deleting Characters

While entering a name, press the [MENU] button.

1.

The NAME MENU window appears. The window closes if you press the button once again.

Move the cursor to “INSERT” or “DELETE,” and press the [ENTER] button.

2.

Function Explanation

INSERT Press the [ENTER] button to insert a space (blank) at the cursor location.

DELETE

Press the [ENTER] button to delete the character at the cursor location; subsequent characters will be moved forward to ll the gap.

WAVE

Parameter Value/Explanation

1– *4

*

Wave Group

Wave No. L (Mono)

Wave No. R

Wave Gain

Wave Tempo Sync

Wave FXM Switch

Wave FXM Color

Wave FXM Depth

Wave Coarse Tune

Wave Fine Tune

Wave Level

Wave Pan

Wave Random Pan Sw

Wave Alter Pan Sw

Specify the on/o status of tones 1–4. If a tone is on, a “(” mark is shown.

OFF, ON

Select the groups containing the Waves comprising the tone.

INTA, B Waveforms stored in internal

EXP Waveforms for expansion sounds

Selects the Waves comprising the tone. Along with the Wave number, the Wave name appears at the lower part of the display. When in mono, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

OFF, 1–2402 (The upper limit will depend on the wave group.)

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

-6, 0, +6, +12

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

OFF, ON

Sets whether FXM will be used (ON) or not (OFF).

OFF, ON

Species how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

1–4

Species the depth of the modulation produced by FXM.

0–16

Adjusts the pitch of the waveform’s sound up or down in semitone steps (±4 octaves).

-48–+48

Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Sets the volume of the waveform.

0–127

Species the pan of the waveform. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

* The range of the panning change is set by the Random Pan Depth

(p. 16).

OFF, ON

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed.

OFF Pan does not change.

ON

REVS The waveform is panned in reverse.

WMT

Parameter Value/Explanation

WMT Velocity Control determines whether a dierent tone is played or not depending on the force with which the key is played (velocity).

WMT Velocity Control

Velo Fade Upper, Lower

Velo Range

Upper, Lower

OFF Waveforms are not velocity-switched.

ON

RANDOM

This determines what will happen to the tone’s level when the tone is played at a velocity Upper/lower than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

0–127

This sets the highest/lowest velocity at which the waveform will sound. Make these settings when you want dierent waveforms to sound in response to notes played at dierent strengths.

* If you attempt to set the Lower velocity limit above the Upper, or the

Upper below the Lower, the other value will automatically be adjusted to the same setting.

(Upper) LOWER–127, (Lower) 1–UPPER

The waveform is panned according to the Alternate Pan Depth (p. 16) setting.

Waveforms are switched according to the keyboard playing velocity.

The waveform’s constituent tones will sound randomly, regardless of the velocity.

When you’ve specied the name, press the [ENTER] button.

3.

14

Patch Mode

Parameter Value/Explanation

Level

Fade Lower

Range Lower Range Upper

PITCH

Parameter Value/Explanation

Tone Coarse Tune

Tone Fine Tune

Tone Random Pitch Depth

Selects the pitch at which a tone sounds.

C- –G9

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

0–1200

PITCH ENV

Parameter Value/Explanation

Adjusts the eect of the Pitch Envelope. Higher settings will cause the

Pitch Env Depth

Pitch Env V-Sens

Pitch Env T1 V-Sens

Pitch Env T4 V-Sens

Pitch Env Time 1–4

Pitch Env Level 0–4

pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-12–+12

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

0–127

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

-63–+63

Pitch

Note on

Fade Upper

Note o

Velocity

Time

TVF

Parameter Value/Explanation

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

* If you set “LPF2” or “LPF3,” the setting for the Resonance will be ignored

(p. 15).

OFF No lter is used.

LPF

BPF

HPF

PKG

LPF2

Filter Type

LPF3

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

“LPF/LPF2/LPF3” selected for the Filter Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

“BPF” selected for the Filter Type

Harmonic components will change depending on the TVF Cuto

Cuto Frequency

Resonance

Cuto V-Curve

Frequency setting. This can be useful when creating distinctive sounds.

“HPF” selected for the Filter Type

Higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

“PKG” selected for the Filter Type

The harmonics to be emphasized will vary depending on Cuto Frequency setting.

0–127

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

0–127

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

FIXED, 1–7

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency in order to round o, or un-brighten the sound. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency, and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency. You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the cuto frequency are cut, the sensitivity of this lter is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the cuto frequency are cut, the sensitivity of this lter changes according to the cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

T: Time L: Level

Cuto V-Sens

Resonance V-Sens

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cuto frequency, use negative (-) settings.

-63–+63

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

-63–+63

15

Patch Mode

TVF ENV

Parameter Value/Explanation

Species the depth of the TVF envelope. Higher settings will cause the TVF

TVF Env Depth

TVF Env V-Curve

TVF Env V-Sens

TVF Env T1 V-Sens

TVF Env T4 V-Sens

TVF Env Time 1–4

TVF Env Level 0–4

envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-63–+63

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

FIXED, 1–7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) settings will cause the eect to be less.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

0–127

Cuto

Frequency

Note on

T: Time L: Level

TVA

Parameter Value/Explanation

Sets the volume of the tone. Use this parameter to adjust the volume

Tone Level

Level V-Curve

Level V-Sens

Tone Pan

Random Pan Depth

Alternate Pan Depth

balance between tones.

0–127

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the tone to be aected by the force with which you press the key, select “FIXED.”

FIXED, 1–7

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

-63–+63

Sets the pan for the tone. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

* This will aect only waves whose Wave Random Pan Sw (p. 14) is “ON.”

0–63

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

* This will aect only waves whose Wave Alter Pan Sw (p. 14) is “ON” or

“REVS.”

L63–0–63R

Note o

Time

Parameter Value/Explanation

Corrects for the volume of the tone. This parameter is set by the key-based controller system exclusive

Relative Level

message. Normally, you should leave it set to 0.

* If the Tone Level is set to 127, the volume will not increase beyond that

point.

-64–+63

TVA-ENV

Parameter Value/Explanation

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this

TVA-Env T1 V-Sens

TVA-Env T4 V-Sens

TVA-Env Time 1–4

TVA-Env Level 1–3

parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specied in the TVA screen).

0–127

Level

Note on

T: Time L: Level

OUTPUT

Parameter Value/Explanation

Species for each drum kit how the direct sound will be output.

MFX

Rhythm Output Assign

Tone Output Assign

Tone Output Level

Tone Chorus Send

Tone Reverb Send

L+R

L, R

TONE Outputs according to the settings for each tone.

Species how the direct sound of each tone will be output.

* If the Rhythm Output Assign is set to anything other than “TONE,” these

settings will be ignored.

* Chorus and reverb are output in mono at all times.

MFX

L+R

L, R

Set the level of the signal that is sent to the output destination specied by Patch Output Assign or Tone Output Assign.

0–127

Species the level of the signal sent to the chorus for each tone.

0–127

Species the level of the signal sent to the reverb for each tone.

0–127

Time

Note o

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

16

Eects Edit

In Patch mode you can use multi eects (MFX), chorus, and reverb.

Signal Flow

Patch Mode

When a patch is selected

Make these settings in the “OUTPUT” tab of the PATCH EDIT screen.

When a drum kit is selected

Make these settings in the “OUTPUT” tab of the DRUM KIT EDIT screen.

Tone Output Level

1

Tone Chorus Send

2

Tone Reverb Send

3

Patch Output Assign

4

Tone Output Assign

5

Tone Output Level

1

Tone Chorus Send

2

Tone Reverb Send

3

Rhythm Output Assign

4

Tone Output Assign

5

p. 11

p. 16

MFX Type

6

Output Level

Make these settings in the “MFX” tab of the EFFECTS EDIT screen.

Make these settings in the “CHORUS” tab of the EFFECTS EDIT screen.

Make these settings in the “REVERB” tab of the EFFECTS EDIT screen.

7

Chorus Send Level

8

Reverb Send Level

9

Chorus Type

10

Chorus Level

11

Output Select

12

Reverb Type

13

Reverb Level

14

Procedure

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

1.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “EFFECTS EDIT,” and press the [ENTER] button.

2.

The EFFECTS EDIT screen appears.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

5.

(Write)” (refer to owner’s manual).

p. 18

17

Patch Mode

Eects Parameters

MFX

Parameter Value/Explanation

Turns MFX on/o, and species the type of MFX that is used. If MFX is on,

shows a “(” mark.

MFX Type

Parameters for each MFX type

Output Level

Chorus Send Level

Reverb Send Level

8

* For details on MFX, refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

00: THRU–80: BIT CRUSHER

Edit the parameters of the MFX type you’ve selected.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Adjusts the volume of the sound that has passed through the MFX. If you’re applying a MFX, this species the depth of the MFX. If you’re not applying a MFX, this species the volume of the original sound.

0–127

Species the level of the signal sent to the chorus.

0–127

Species the level of the signal sent to the reverb.

0–127

MFX control

If you wanted to change the volume of MFX sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the JUNO-DS. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the JUNO-DS’s MFX parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of MFX; among the parameters described in “MFX parameters” (p. 40), these are indicated by a “#.” The function that allows you use MIDI messages to make these changes in realtime to the MFX parameters is called the MFX control. Up to four MFX controls can be used in a single patch/drum kit/performance. When the MFX control is used, you can select the amount of control (Sens) applied, the parameter selected (Destination), and the MIDI message used (Source).

MEMO

By using the Matrix control instead of the MFX control, you can also change the parameters of some popular MFX in realtime (p. 12).

CHORUS

Parameter Value/Explanation

Turns Chorus on/o, and species the type of chorus that is used. If Chorus is on,

8

Chorus Type

Parameters for each chorus type

Output Select

Chorus Level

00: OFF Neither chorus or delay is used.

01: CHORUS Chorus is used.

02: DELAY Delay is used.

03: GM2 CHORUS GM2 chorus

Set the parameters of the selected chorus type.

* Refer to “Chorus Parameters” (p. 58).

Species how the sound routed through chorus will be output.

MAIN Output to the OUTPUT jacks in stereo.

REV Output to reverb in mono.

M+R

Adjusts the volume of the sound that has passed through chorus.

0–127

REVERB

Parameter Value/Explanation

Turns Reverb on/o, and species the type of reverb that is used. If Reverb is on,

8

00: OFF Reverb is not used.

01: REVERB Normal reverb

Reverb Type

Parameters for each reverb type

Reverb Level

02: SRV ROOM

03: SRV HALL

04: SRV PLATE

05: GM2 REVERB GM2 reverb

Set the parameters of the selected reverb type.

* Refer to “Reverb Parameters” (p. 58).

Adjusts the volume of the sound that has passed through reverb.

0–127

shows a “(” mark.

Output to the OUTPUT jacks in stereo, and to reverb in mono.

This reverb simulates typical room acoustic reections.

This reverb simulates typical concert hall acoustic reections.

This reverb simulates a reverb plate, a popular type of articial reverb unit that derives its sound from the vibration of a metallic plate.

MFX CTRL

Parameter Value/Explanation

Sets the MIDI message used to change the MFX parameter with the MFX control.

OFF MFX control will not be used.

Source 1–4

Destination 1–4

Sens 1–4

CC01–31, 33–95 Controller numbers 1–31, 33–95

PITCH BEND Pitch bend

AFTERTOUCH After touch

SYS CTRL1–4 Use the System Control 1–4 Source setting (p. 34).

Sets the MFX parameters to be controlled with the Source 1–4. The MFX parameters available for control will depend on the MFX Type.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Species the depth of MFX control. Specify a positive (+) value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value (-) if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

-63–+63

18

Performance Mode

Performance Edit

MEMO

PERFORMANCE EDIT and PART EDIT have the same parameters in common.

Procedure

Press the [PATCH/PERFORM] button to make it light.

1.

Select a performance that you want to edit.

2.

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

3.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “PERFORMANCE EDIT,” and press the [ENTER] button.

4.

The PERFORM EDIT screen appears.

MEMO

5In the PERFORM EDIT screen, you can use pads [1]–[8] to select the part that

you want to edit. If you hold down the [SHIFT] button and press a pad [1]–[8], a part 9–16 is selected.

5In the PERFORM EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “PERFORM” or “PART” and press the [ENTER] button to initialize the selected performance or part.

Performance Parameters

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

5.

Move the cursor to the parameter that you want to edit, and use the value

6.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

7.

(Write)” (refer to owner’s manual).

PATC H

Parameter Value/Explanation

Type

Bank

Number

Kbd

Sets the assignment of a patch (Pat) or drum kit (Drm) to each of the parts.

Pat, Drm

Selects the group to which the desired patch or drum kit belongs.

DS (DS tone), PRST (Preset), GM (GM2 tone), EXP (expansion sounds), USER

Selects the desired patch or drum kit by its number.

0001–

Species, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.

OFF, ON

LEVEL/CH

Parameter Value/Explanation

Turns on the part that you want to solo. Parts other than the soloed part

Solo

Mute

Level

Pan

RxCh

RxSw

are not heard.

OFF, ON

Species whether each part’s performance is temporarily muted (ON) or not muted (OFF).

* The Mute parameter does not turn the part o; it mutes the sound by

minimizing the volume. Therefore, the part still receives MIDI messages.

OFF, ON

Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts.

0–127

Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Species the MIDI receive channel for each part.

1–16

For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it “OFF” when you do not want a specic part to be playing during song playback.

OFF, ON

OUTPUT

Parameter Value/Explanation

Species for each part how the direct sound will be output.

MFX

Out

Sel

Lev

Cho

L+R

L, R

PATC H Outputs according to the settings for patch.

Of the three types of MFX that can be used simultaneously, specify which MFX will be used.

1–3 (MFX1–MFX3)

Set the level of the signal that is sent to the output destination specied by Part Output Assign.

0–127

Sets the level of the signal sent to chorus for each part.

0–127

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Parameter Value/Explanation

Rev

1–3

C

R

Sets the level of the signal sent to reverb for each part.

0–127

Turn MFX 1–3 on/o for each part. If turned on, a “(” mark appears.

O (–), On (

Turn Chorus on/o for each part. If turned on, a “(” mark appears.

O (–), On (

Turn Reverb on/o for each part. If turned on, a “(” mark appears.

O (–), On (

PITCH

Parameter Value/Explanation

Adjusts the pitch of the part’s sound up or down in units of an octave (±3

Oct

Crs

Fine

Mono

Legt

Bend

Port

Time

octaves).

* Note that when a rhythm set is assigned to a part, you cannot modify

the Octave Shift.

-3–+3

Adjusts the pitch of the part’s sound up or down in semitone steps (±4 octaves).

-48–+48

Adjusts the pitch of the part’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

MONO, POLY, PAT

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

OFF, ON, PAT

Species the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 7), set this to “PAT.”

0–24, PAT

Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

OFF, ON, PAT

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

0–127, PAT

(

)

(

)

(

)

19

Performance Mode

KBD

Parameter Value/Explanation

Species, for each part, whether or not the keyboard controller section will be connected to the internal sound generator and MIDI OUT.

Kbd

RngLo, RngUp

V-Sens

(Velocity Sensitivity Oset)

V-Rsv

Oct

Normally you will leave this o; you can turn it on if you want to layer sounds.

OFF, ON

Species the lowest/highest note that the tone will sound for each part.

* When the Key Range (p. 7) is set for each individual tone in a patch,

sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.

C- –G9

Key range specied for Performance

The range in which notes will play

This changes the volume and cuto frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cuto frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a xed volume and cuto frequency, regardless of the force with which the keys are played.

* Patches also contain a Velocity Sensitivity Oset setting (p. 5). The

ultimate Velocity Sensitivity Oset value is the sum of the part’s and the patch’s Velocity Sensitivity Osets. Accordingly, if the patch’s Velocity Sensitivity Oset is set to “127” (maximum), there will be no change in the part’s Velocity Sensitivity Oset, even when this is set to a positive value.

-63–+63

Species the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.

* It is not possible for the settings of all parts to total an amount greater

than 128.

0–63, FULL

Adjusts the pitch of the part’s sound up or down in units of an octave (±3 octaves).

* Note that when a drum kit is assigned to a part, you cannot modify the

Octave Shift.

-3–+3

Key range specied for Patch

Calculating the number of voices being used

The JUNO-DS is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played. (number of sounds being played) x (number of tones used by patches being played) x (number of waves used in the tones) Realtime Stretch requires twice the normal polyphony.

OFFSET

Parameter Value/Explanation

Adjusts the cuto frequency for the patch or drum kit assigned to a part.

* Patches also have a Cuto Oset setting (p. 4). The nal cuto

Cuto

(Cuto Oset)

Reso

(Resonance Oset)

Attack

(Attack Time

Oset)

Decay

Release

(Release Time Oset)

frequency value is the sum of the tone Cuto Frequency value and the patch and part Cuto Oset values. If the tone’s cuto frequency is already set to “127” (maximum), there will be no change produced by setting the Cuto Oset to a positive value.

-64–+63

Adjusts the Resonance for the patch or rhythm set assigned to a part.

* Patches also have a Resonance Oset setting (p. 4). The nal

Resonance value is the sum of the tone Resonance value and the patch and part Resonance Oset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance oset to a positive value.

-64–+63

Adjusts the TVA/TVF Envelope Attack Time for the patch or drum kit assigned to a part.

* Patches also contain the Attack Time Oset setting (p. 4). The nal

TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time Oset, and the part’s Attack Time Oset. If the tone’s Time 1 is already set to “127” (maximum), there will be no change produced by setting the Attack Time Oset to a positive value. The same applies to the TVF envelope.

-64–+63

Adjusts the TVA/TVF Envelope Decay Time for the patch or drum kit assigned to a part.

-64–+63

Adjusts the TVA/TVF Envelope Release Time for the patch or drum kit assigned to a part.

* Patches also contain a Release Time Oset setting (p. 4). The nal

TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Oset, and the part’s Release Time Oset. If the tone’s Time 4 is set to “127” (maximum), there will be no change in the Release Time Oset, even when this is set to a positive value. The same applies to the TVF envelope.

-64–+63

VIBRATO

Parameter Value/Explanation

For each part, adjust the vibrato speed (the rate at which the pitch is

Rate

Depth

Delay

modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

-64–+63

For each part, this adjusts the depth of the vibrato eect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

-64–+63

For each part, this adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

-64–+63

SCALE

Parameter Value/Explanation

C–B

Make scale tune settings for each part.

-64–+63

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.

Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this eect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C higher compared to equal temperament. The intervals between G and B, C and E, F

¾

, B² and C¾, and E² and F¾ have a natural third—the interval between a major

and G third and a minor third. On the JUNO-DS, you can use Arabian temperament in the

¾

, F¾ and G¾ are a quarter-note

three keys of G, C and F.

Note

name

C 0 0 -6

¾

C

D 0 +4 -2

²

E

E 0 -14 -51

F 0 -2 -8

¾

F

G 0 +2 -4

¾

G

A 0 -16 0

²

B

B 0 -12 -49

Equal

temperament

Just Temperament

(tonic C)

0 -8 +45

0 +16 -12

0 -10 +43

0 +14 +47

0 +14 -10

Arabian Scale

MIDI

Parameter Value/Explanation

For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF). Assigning a check mark (() will enable reception.

PC Program Change

BS Bank Selec t

PB Pitch Bend

PA Polyphonic Aftertouch

CA Channel Aftertouch

MD Modulation

VO Volume

PN Pan

EX Expression

HD Hold 1

PC–VC

Set PL (phase lock) to “(” (ON) when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

* When the PL (phase lock) is set to “ON,” parts on the same MIDI

channel are put in a condition in which their timing is matched,

PL

enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

Selects Velocity Curve for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “–” (OFF) if you are using the MIDI keyboard’s own

VC

velocity curve.

20

Part Edit

MEMO

5PART EDIT and PERFORMANCE EDIT have the same parameters in common. 5If you’re using the pattern sequencer, the part edit settings are saved as a “pattern.”

Procedure

Press the [PATCH/PERFORM] button to make it light.

1.

Select a performance that you want to edit.

2.

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

3.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “PART EDIT,” and press the [ENTER] button.

4.

The PART EDIT screen appears.

MEMO

5In the PART EDIT screen, you can use pads [1]–[8] to select the part that you

want to edit. If you hold down the [SHIFT] button and press a pad [1]–[8], a part 9–16 is selected.

Performance Parameters

Performance Mode

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

5.

Move the cursor to the parameter that you want to edit, and use the value

6.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

7.

(Write)” (refer to owner’s manual).

PATC H

Parameter Value/Explanation

Sets the assignment of a patch (Patch) or drum kit (Drum) to each of the

TYPE

BANK

Category number

parts.

Patch, Drum

Selects the group to which the desired patch or drum kit belongs.

DS (DS tone), PRST (Preset), GM (GM2 tone), EXP (expansion sounds), USER

Selects the desired patch or drum kit by its number.

0001–

LEVEL/CH

Parameter Value/Explanation

Turns on the part that you want to solo. Parts other than the soloed part

Solo Switch

Mute Switch

Level

Pan

Rx Switch

Rx Channel

are not heard.

OFF, ON

Species whether each part’s performance is temporarily muted (ON) or not muted (OFF).

* The Mute parameter does not turn the part o; it mutes the sound by

minimizing the volume. Therefore, the part still receives MIDI messages.

OFF, ON

Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts.

0–127

Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it “OFF” when you do not want a specic part to be playing during song playback.

OFF, ON

Species the MIDI receive channel for each part.

* You can’t edit this parameter if the [PATTERN SEQUENCER] button is lit.

1–16

OUTPUT

Parameter Value/Explanation

Species for each part how the direct sound will be output.

MFX

Output Assign

Output MFX Sel

Output Level

Cho Send Level

Rev Send level

L+R

L, R

PAT Outputs according to the settings for patch.

Of the three types of MFX that can be used simultaneously, specify which MFX will be used.

1–3 (MFX1–MFX3)

Set the level of the signal that is sent to the output destination specied by Part Output Assign.

0–127

Sets the level of the signal sent to chorus for each part.

0–127

Sets the level of the signal sent to reverb for each part.

0–127

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

PITCH

Parameter Value/Explanation

Adjusts the pitch of the part’s sound up or down in units of an octave (±3

Octave Shift

Coarse Tune

Fine Tune

Mono/Poly

Legato Switch

Bend Range

Porta Switch

Porta Time

octaves).

* Note that when a rhythm set is assigned to a part, you cannot modify

the Octave Shift.

-3–+3

Adjusts the pitch of the part’s sound up or down in semitone steps (±4 octaves).

-48–+48

Adjusts the pitch of the part’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

MONO, POLY, PAT

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

OFF, ON, PAT

Species the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 7), set this to “PAT.”

0–24, PAT

Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

OFF, ON, PAT

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

0–127, PAT

21

Performance Mode

KBD

Parameter Value/Explanation

Species, for each part, whether or not the keyboard controller section will be connected to the internal sound generator and MIDI OUT.

Kbd Switch

Key Range Lower, Upper

Velo Sens Oset

(Velocity

Sensitivity Oset)

Voice Reserve

Octave Shift

Normally you will leave this o; you can turn it on if you want to layer sounds.

OFF, ON

Species the lowest/highest note that the tone will sound for each part.

* When the Key Range (p. 7) is set for each individual tone in a patch,

sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.

1–16

Key range specied for Performance

The range in which notes will play

This changes the volume and cuto frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cuto frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a xed volume and cuto frequency, regardless of the force with which the keys are played.

* Patches also contain a Velocity Sensitivity Oset setting (p. 5). The

ultimate Velocity Sensitivity Oset value is the sum of the part’s and the patch’s Velocity Sensitivity Osets. Accordingly, if the patch’s Velocity Sensitivity Oset is set to “127” (maximum), there will be no change in the part’s Velocity Sensitivity Oset, even when this is set to a positive value.

-63–+63

Species the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.

* It is not possible for the settings of all parts to total an amount greater

than 128.

0–63, FULL

Adjusts the pitch of the part’s sound up or down in units of an octave (±3 octaves).

* Note that when a rhythm set is assigned to a part, you cannot modify

the Octave Shift.

-3–+3

Key range specied for Patch

Calculating the number of voices being used

The JUNO-DS is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played. (number of sounds being Played) x (number of tones used by patches being played) x (number of waves used in the tones) Realtime Stretch requires twice the normal polyphony.

OFFSET

Parameter Value/Explanation

Adjusts the cuto frequency for the patch or rhythm set assigned to a part.

* Patches also have a Cuto Oset setting (p. 4). The nal Cuto

frequency value is the sum of the tone Cuto Frequency value and the

Cuto Oset

Reso Oset

(Resonance Oset)

Attack Oset

(Attack Time Oset)

Decay Oset

Release Oset

(Release Time Oset)

patch and part Cuto Oset values. If the tone’s cuto frequency is already set to “127” (maximum), there will be no change produced by setting the Cuto Oset to a positive value.

-64–+63

Adjusts the Resonance for the patch or rhythm set assigned to a part.

* Patches also have a Resonance Oset setting (p. 4). The nal

Resonance value is the sum of the tone Resonance value and the patch and part Resonance Oset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance oset to a positive value.

-64–+63

Adjusts the TVA/TVF Envelope Attack Time for the patch or drum kit assigned to a part.

* Patches also contain the Attack Time Oset setting (p. 4). The nal

TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time Oset, and the part’s Attack Time Oset. If the tone’s Time 1 is already set to “127” (maximum), there will be no change produced by setting the Attack Time Oset to a positive value. The same applies to the TVF envelope.

-64–+63

Adjusts the TVA/TVF Envelope Decay Time for the patch or drum kit assigned to a part.

-64–+63

Adjusts the TVA/TVF Envelope Release Time for the patch or drum kit assigned to a part.

* Patches also contain a Release Time Oset setting (p. 4). The nal

TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Oset, and the part’s Release Time Oset. If the tone’s Time 4 is set to “127” (maximum), there will be no change in the Release Time Oset, even when this is set to a positive value. The same applies to the TVF envelope.

-64–+63

VIBRATO

Parameter Value/Explanation

For each part, adjust the vibrato speed (the rate at which the pitch is

Vibrato Rate

Vibrato Depth

Vibrato Delay

modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

-64–+63

For each part, this adjusts the depth of the vibrato eect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

-64–+63

For each part, this adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

-64–+63

SCALE

Parameter Value/Explanation

C–B

Make scale tune settings for each part.

-64–+63

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.

Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this eect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C higher compared to equal temperament. The intervals between G and B, C and E, F

¾

, B² and C¾, and E² and F¾ have a natural third—the interval between a major

and G third and a minor third. On the JUNO-DS, you can use Arabian temperament in the

¾

, F¾ and G¾ are a quarter-note

three keys of G, C and F.

Note

name

C 0 0 -6

¾

C

D 0 +4 -2

²

E

E 0 -14 -51

F 0 -2 -8

¾

F

G 0 +2 -4

¾

G

A 0 -16 0

²

B

B 0 -12 -49

Equal

temperament

Just Temperament

(tonic C)

0 -8 +45

0 +16 -12

0 -10 +43

0 +14 +47

0 +14 -10

Arabian Scale

MIDI

Parameter Value/Explanation

For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF). Assigning a check mark (() will enable reception.

PC Program Change

BS Bank Selec t

BEND Pitch Bend

PC–HOLD

VERO CRV

PHASELOCK

PAFT Polyphonic Aftertouch

CAFT Channel Aftertouch

MOD Modulation

VOL Volume

PAN Pan

EXP Expression

HOLD Hold 1

Selects Velocity Curve for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.

OFF, 1–4

Set PHASELOCK to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

* When the PHASELOCK is set to “ON,” parts on the same MIDI channel

are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

OFF, ON

22

Performance Mode

Eects Edit

In Performance mode you can use three multi eects (MFX1–3), one chorus, and one reverb. For each of the three MFX, the chorus, and the reverb, you can specify whether it will operate according to the eect settings of the performance, or according to the eect settings of the patch or drum kit assigned to the part you specify.

The three MFX can be used independently, or you can connect two or three of them in series.

Signal Flow

Make these settings in the “OUTPUT” tab of the PART EDIT screen.

Make these settings in the “MFX1–3” tab of the EFFECTS EDIT screen.

Output Level

1

Cho Send Level

2

Rev Send Send

3

Output Assign

4

Output MFX Sel

5

MFX Type

6

Output Level

7

Chorus Send Level

8

Reverb Send level

9

p. 21

p. 24

Chorus Type

10

Make these settings in the “CHORUS” tab of the EFFECTS EDIT screen.

Make these settings in the “REVERB” tab of the EFFECTS EDIT screen.

11

12

13

14

Chorus Level

Output Select

Reverb Type

Reverb Level

Procedure

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

1.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “EFFECTS EDIT,” and press the [ENTER] button.

2.

The EFFECTS EDIT screen appears.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

5.

(Write)” (refer to owner’s manual).

p. 24

23

Performance Mode

Eects Parameters

COMMON

Parameter Value/Explanation

Specify how MFX1–3 will be connected.

TYPE01

MFX1

MFX2

MFX3

TYPE03

MFX1

MFX2

TYPE05

MFX2

MFX3

MFX Structure

MFX1–3 Source

Chorus Source

Reverb Source

TYPE07

MFX1

MFX3 MFX2

TYPE09

MFX2

MFX3

TYPE11

MFX1 MFX2 MFX3

TYPE13

MFX2 MFX3 MFX1

TYPE15

MFX3 MFX1 MFX2

Selects the MFX parameter settings that will be used by the performance.

PERFORM Use the MFX settings of the performance

UPPER (PART1), LOWER (PART2), PART3–16

Selects the chorus parameter settings that will be used by the performance.

PERFORM Use the chorus settings of the performance

UPPER (PART1), LOWER (PART2), PART3–16

Selects the reverb parameter settings that will be used by the performance.

PERFORM Use the reverb settings of the performance

UPPER (PART1), LOWER (PART2), PART3–16

MFX1–3

Parameter Value/Explanation

Turns MFX on/o, and species the type of MFX that is used. If MFX is on,

shows a “(” mark.

MFX Type

Parameters for each MFX type

Chorus Send Level

Reverb Send Level

8

* For details on MFX parameters, refer to “MFX Parameters (MFX,

MFX1–3)” (p. 40).

00: THRU–80: BIT CRUSHER

Edit the parameters of the MFX type you’ve selected.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Species the level of the signal sent to the chorus.

0–127

Species the level of the signal sent to the reverb.

0–127

TYPE02

MFX1

MFX2

MFX3

TYPE04

MFX3

MFX1

Use the MFX settings of the patch or drum kit assigned to the specied part

Use the chorus settings of the patch or drum kit assigned to the specied part

Use the reverb settings of the patch or drum kit assigned to the specied part

MFX1

MFX2 MFX3

TYPE06

MFX2

MFX3 MFX1

TYPE08

MFX1

MFX2

TYPE10

MFX1

MFX3

TYPE12

MFX1 MFX3 MFX2

TYPE14

MFX2 MFX1 MFX3

TYPE16

MFX3 MFX2 MFX1

MFX3

MFX2

MFX1–3 CTRL

Parameter Value/Explanation

Sets the MIDI message used to change the MFX parameter with the MFX control.

OFF MFX control will not be used.

Source 1–4

Destination 1–4

Sens 1–4

CC01–31, 33–95 Controller numbers 1–31, 33–95

PITCH BEND Pitch bend

AFTERTOUCH After touch

SYS CTRL1–4 Use the System Control 1–4 Source setting (p. 34).

Sets the MFX parameters to be controlled with the Source1–4. The MFX parameters available for control will depend on the MFX Type.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Species the depth of MFX control. Specify a positive (+) value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value (-) if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

-63–+63

CHORUS

Parameter Value/Explanation

Turns Chorus on/o, and species the type of chorus that is used. If Chorus is on,

8

Chorus Type

Parameters for each chorus type

Output Select

Chorus Level

00: OFF Neither chorus or delay is used.

01: CHORUS Chorus is used.

02: DELAY Delay is used.

03: GM2 CHORUS GM2 chorus

Set the parameters of the selected chorus type. The chorus parameters available for control will depend on the Chorus Type.

* Refer to “Chorus Parameters” (p. 58).

Species how the sound routed through chorus will be output.

MAIN Output to the OUTPUT jacks in stereo.

REV Output to reverb in mono.

M+R

Adjusts the volume of the sound that has passed through chorus.

0–127

REVERB

Parameter Value/Explanation

Turns Reverb on/o, and species the type of reverb that is used. If Reverb is on,

8

00: OFF Reverb is not used.

01: REVERB Normal reverb

Reverb Type

Parameters for each reverb type

Reverb Level

02: SRV ROOM

03: SRV HALL

04: SRV PLATE

05: GM2 REVERB GM2 reverb

Set the parameters of the selected reverb type. The reverb parameters available for control will depend on the Reverb Type.

* Refer to “Reverb Parameters” (p. 58).

Adjusts the volume of the sound that has passed through reverb.

0–127

shows a “(” mark.

Output to the OUTPUT jacks in stereo, and to reverb in mono.

This reverb simulates typical room acoustic reections.

This reverb simulates typical concert hall acoustic reections.

This reverb simulates a reverb plate, a popular type of articial reverb unit that derives its sound from the vibration of a metallic plate.

24

Sample Edit

Procedure

Press the [SAMPLE IMPORT] button.

1.

The SAMPLE MENU screen appears.

Move the cursor to “SAMPLE EDIT” and press the [ENTER] button.

2.

The SAMPLE EDIT screen appears.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Sample Parameters

SAMPLE

NOTE

The following parameters cannot be edited for samples Sp:001–006 in the PRST bank.

Parameter Value/Explanation

Species the note number that plays the sample at the pitch at which it

Original Key

Loop Switch

Start

Loop

End

(*1) The length of the imported sample is calculated, and the position of each point is shown as a time (units: milliseconds).

The displayed value (time) is the value when the sample is played at the key specied by Original Key. The playback time is shorter than displayed if you play a key that is higher than the Original Key, and longer than displayed if you play a key that is lower.

was imported.

C-1–G9

Turns loop playback on/o.

OFF, ON

Playback start point (Start Point) (*1) This lets you skip an unwanted portion of the waveform at the beginning of the sample so that the sample plays with the desired timing.

0–

Point at which the repeated portion starts on the second and subsequent plays (Loop Point) (*1) Specify this if you want to loop from a location other than Start After the Sample played back from Start to End, it will then be repeatedly played back in the forward direction, from the Loop to End.

0–

Playback end point (End Point) (*1) This lets you omit an unwanted portion of the waveform at the end of the sample.

0–

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

5.

(Write)” (refer to owner’s manual).

TVF

Parameter Value/Explanation

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

* If you set “LPF2” or “LPF3,” the setting for the Resonance will be ignored

(p. 25).

OFF No lter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency (Cuto Freq) in order to round o, or un-

LPF

brighten the sound. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of

BPF

the cuto frequency (Cuto Freq), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below

HPF

the cuto frequency (Cuto Freq). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency (Cuto Freq). You can use this to create wah-

PKG

wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter

LPF2

Filter Type

is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter changes according to the Cuto frequency. While this lter is

LPF3

also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

Cuto Frequency

Resonance

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

“LPF/LPF2/LPF3” selected for the Filter Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

“BPF” selected for the Filter Type

Harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

“HPF” selected for the Filter Type

Higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

“PKG” selected for the Filter Type

The harmonics to be emphasized will vary depending on Cuto Frequency setting.

0–127

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

0–127

25

Sample Edit

Parameter Value/Explanation

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the C4 key (center C), positive (+) settings will cause the cuto frequency to rise for notes higher than C4, and negative (-) settings will cause the cuto frequency to fall for notes higher than C4. Larger settings will produce greater change.

-200–+200

Cuto frequency

(Octave)

Cuto Keyfollow

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

Cuto V-Curve

Cuto V-Sens

Resonance V-Sens

FIXED, 1–7

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cuto frequency, use negative (-) settings.

-63–+63

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

-63–+63

Key

TVF ENV

Parameter Value/Explanation

Species the depth of the TVF envelope. Higher settings will cause the TVF

TVF Env Depth

TVF Env V-Curve

TVF Env V-Sens

TVF Env T1 V-Sens

TVF Env T4 V-Sens

TVF Env Time Keyfollow

envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-63–+63

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

FIXED, 1–7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) settings will cause the eect to be less.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVF envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

TVF Env Time 1–4

TVF Env Level 0–4

Frequency

Key

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

0–127

Cuto

Time

Note on

T: Time L: Level

Note o

26

Sample Edit

TVA

Parameter Value/Explanation

Tone Level

Level V-Curve

Level V-Sens

Bias Level

Bias Position

Bias Direction

Bias

Bias causes the volume to be aected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

Sets the volume of the tone.

0–127

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the tone to be aected by the force with which you play the key, set this to “FIXED.”

FIXED, 1–7

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

-63–+63

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction.

-100–+100

Species the key relative to which the volume will be modied.

C-1–G9

Selects the direction in which change will occur starting from the Bias Position.

The volume will be modied for the keyboard area below the

LWR

Bias Position.

The volume will be modied for the keyboard area above the

UPR

Bias Position.

The volume will be modied symmetrically toward the left and

L&U

right of the Bias Position.

ALL The volume changes linearly with the Bias Position at the center.

TVA ENV

Parameter Value/Explanation

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this

TVA-Env T1 V-Sens

TVA-Env T4 V-Sens

TVA-Env Time KF

TVA-Env Time 1–4

TVA-Env Level 1–3

parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specied in the TVA screen).

0–127

Key

Tone Pan

Pan Keyfollow

Random Pan Depth

Alternate Pan Depth

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this parameter if you want key position to aect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

-100–+100

Pan

Key

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

0–63

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right.

L63–0–63R

Level

Note on

T: Time L: Level

LFO1

Parameter Value/Explanation

Selects the waveform of the LFO.

* If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger

parameter to “ON.” If this is “OFF,” it will have no eect.

SIN Sine wave

TRI Triangle wave

SAWU Sawtooth wave

SAWD Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Waveform

Rate

Rate Detune

BD-U

BD-D

TRP Trapezoidal wave

S&H Sample & Hold wave (one time per cycle, LFO value is changed)

CHS Chaos wave

VSIN

STEP

Adjusts the modulation rate, or speed, of the LFO.

* This setting will be ignored if the Waveform is set to “CHS.”

0–127, note

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate) each time a key is pressed. Higher settings will cause greater change.

* This parameter is invalid when Rate is set to “note.”

0–127

Time

Note o

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specied by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

27

Roland DS61 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Additional Explanation

Panel Descriptions

Patch Mode

Key Touch

Sample Import

Editing a Patch/Drum Kit

Performance Mode

Editing a Performance

Pattern Sequencer

Realtime Erase

Demo Songs

Saving a Pattern As a “Performance” (SAVE AS PERFORM)

Patch Mode

Patch/Drum Kit Edit

Procedure

About the Parameters

Patch Parameters

Drum Kit Parameters

Signal Flow

Procedure

Performance Mode

Performance Edit

Procedure

Performance Parameters

Part Edit

Procedure

Performance Parameters

Signal Flow

Procedure

Sample Edit

Procedure

Sample Parameters